"Peter works harder at what he does than anyone I know... it means so much to have someone who really knows and cares. Thank you, Peter, for all the help."

– Eliza Dushku

  

 
PRIVATE COACHING with PETER KELLEY
professional actor coaching for film and television

Acting is a group endeavor. It explores relationships, and (solo performance pieces aside) it requires at least two to do so. Therefore I strongly believe that acting should not be learned solely in a one-on-one environment.

Still, there are times when private coaching can greatly benefit an actor. Many of my students have worked with me privately; others are interested but not sure if private work is right for them or how to proceed. I hope the following frequently-asked questions and their answers are of help.


So what is private coaching?

Usually, the term "private coaching" refers to any one-on-one work an actor does with a coach hired for set period of time.

This work can include:
  • monologue preparation
  • cold reading
  • career counseling
  • work on either a specific audition or role in a project in production
  • work focused on specific blocks the actor may have in other classwork or performance.
Much of my private work is with actors either auditioning for or cast in a substantial role in a film (sometimes even a commercial). We work on preparing all the scenes in which that character appears so that the actor will walk onto the set or into the audition "performance ready."


I'm just starting out – should I work with a coach?

That depends. I do not recommend private coaching as a new actor's primary source of training, and I strongly advise beginning actors to get themselves into a class. Private work with beginning actors focuses on fast-forwarding that actor's artistic and career development and is geared to augment --not replace-- the work done in a group class.

(The only exception to this occurs with celebrity clients whose schedules and notoriety would hinder participation in an ongoing group class. I have substantial experience with such clients and can tailor a program to suit that client's needs.)


What if I'm enrolled in a class already?

In fact, about half of the actors I coach are in a class during their period of study with me. Our time in the private sessions focuses on acting issues not covered in their class.


Can I bring in assignments from
my group class for private work?

If it's from one of my classes, sure. Otherwise, no.


What's the time commitment?

I tell clients it's similar to seeing a therapist (the structure, not the content). Most clients book one hourlong session per week, and either party can reschedule with a day's advance notice. An hour slot is 55 minutes long (give or take).

I request that most clients commit to a minimum of four sessions up front, and we take it week by week from there. I have clients for as little as four weeks and working actor clients who have been coming to me for years, booking a session now and then when they've got a project or big audition coming up, or they're rusty and need a push.

Also, I stress that the client must be prepared to take an active role in setting the agenda for private sessions. Unlike a group class, where class curriculum is pre-determined, the agenda for private work is different for each client and we work together to set that agenda.


What's done in the sessions?

Depends on the actor's goal in entering into private coaching.

Some examples:
  • monologues: 1-2 sessions on piece selection, 1 session on trimming, 2-6 sessions on the pieces themselves. Clients without pieces should expect to work at least 6 sessions to prepare two performance-ready pieces.
  • audition/role prep: client comes in with two copies of the material. Client comes in off-book, if appropriate. We rehearse and prepare the scene/s.
  • career work: client comes in with materials (headshots, etc.) and a prepared list of questions. We talk. Generally 1 session with a later follow-up.
  • audition training: Client comes in with no preparation, is given sides from a film/tv scene. Client prepares alone, then reads the scene, sometimes on-camera.


So how much, and when?

I charge a sliding scale between $75 and $295 per session based on your ability to pay. Current and former group class students receive a $5 per hour discount.

New York: Wednesdays through Saturdays; fexible days and evenings. Other times by advance arrangement.

Boston: Sundays and every other Monday between 12:30 and 4:00 PM, subject to availability.

I do not schedule evening appointments in Boston.

Los Angeles: by appointment


If you haven't worked with me before, send me an e-mail or contact me at (2 1 2) 4 3 1 - 4 0 0 0 to set up an interview.



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